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The Qing dynasty is the heyday of the Chinese classical theories of drama, among which Li yu's theory of drama is rated as the best. It is true that theories produced in Ming dynasty are not so coherent and profound as those produced in Qing dynasty. But the theories of the Ming dynasty have a value that cannot be ignored in the development of theories of drama in China: they laid the foundation on which the achievements of the Qing dynasty were possible.
Qi biao jia is a drama critic of the late Ming dynasty, who drew on the excellent views of the many preceding critics in establishing a theoretical basis on which he would appraise the plays. Therefore 「Er pin 二品」, a collection of various kinds of criticisms made by him, has the merit of comprehensiveness, though not originality. The criticisms cover a wide range of theories such as the theory of humors, which was a subject of heated discussion in the theatrical world at the time, the theory of plot, and the theory of characters. All-comprising criticisms like these contributed much to theoretical perfection in the Qing dynasty, and thereby to the development of the theories of drama in China.
Qi biao jia is a drama critic of the late Ming dynasty, who drew on the excellent views of the many preceding critics in establishing a theoretical basis on which he would appraise the plays. Therefore 「Er pin 二品」, a collection of various kinds of criticisms made by him, has the merit of comprehensiveness, though not originality. The criticisms cover a wide range of theories such as the theory of humors, which was a subject of heated discussion in the theatrical world at the time, the theory of plot, and the theory of characters. All-comprising criticisms like these contributed much to theoretical perfection in the Qing dynasty, and thereby to the development of the theories of drama in China.
목차
第一章 緖論
第二章 祁彪佳的戱曲本色論
第三章 祁彪佳的戱曲結構論
第四章 祁彪佳的戱曲情節論
第五章 祁彪佳的戱曲人物論
第六章 結語
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〈Abstract〉
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